Meet The Gaffer

Exploring the very real fact that having a tunable white source is a worthwhile advantage in certain instances.
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[@jonpav6224]

Many over simplify what's involved to achieve the outcome they are happy with, especially those not regularly involved in major productions. We do have a range of great gear options and some of it is more affordable, but the planning, creativity, knowledge and hard work is still key.

[@MattQuattro]

Thanks so much for sharing Luke. I always chuckle at how a 'simple' backdrop can turn into such a massive setup very quickly!

[@cobymarcum1442]

Poor Scott (talent stand-in). His 15 minutes of fame was blanketed in verbal silence after giving a nod that he was ready for his 15 minutes. Thanks for catching light Scott. Good job. Thank you Luke for these awesome videos. I appreciate the shot of the monitor especially because seeing what those cameras see is very different from what a behind the scenes camera sees. It’s helpful to see the lighting setup followed by monitor results. Thank you to camera operator for behind the scenes footage. Now if I could just find me one of those sweet Dallas Reunion Tower / gameshow host microphones then I’ll be ready for any lighting situation. 😊👍

[@Nashvillejasonwain]

These videos are so helpful love the breakdowns on how you light things and the rigging. Love the Chanel!

[@jkvps]

As always, very informative Luke. I love seeing the magic behind the curtain with all the new lighting technology. Nice work!

[@cinemartini]

I was gaffing a commercial yesterday, and we had to cool some under the counter LED lights in a kitchen. The 20 something grip didn't know what a ½ blue or a full blue gel was. He said the lighter one or the darker one. He started in this business with bi-color lights!

[@meetthegaffer]

Great anecdote. That’ll be me in a couple years, when all units are “full spectrum” and my gel memory starts to fade😬

[@SouthpawAutoworks]

Luke, these BTS videos are very entertaining/informative. It's nice seeing how you're overcoming obstacles. Thank you for sharing!

[@FergVision]

Thanks for sharing! Bi-colors are sooooo useful. I think now that we finally have affordable and powerful bicolor and rgb fixtures I am seeing so much more interesting use of color temp on commercials/tv and films I am watching and I love it. In the Movie Parasite they used color temp so well in creating these different layers and zones to give the images depth and help to tell the story even better.

[@Aaron-Almquist]

What a lot of people don't talk about is how much easier warmer tungsten light is on the eyes!

[@meetthegaffer]

Interesting.

[@pascalkempa8005]

Due to being flickerless?

[@EYECRAFTVideo]

I missed your channel - good to see you

[@lightforce3642]

Hi Luke, I've been getting into the Apature world more recently as well. 300X 60X and NOVA 600 Panels, with all the soft boxes and domes and fresnels. Just added 600c with 150 dome and F10 fresnel, as well as MTPRO tubes and MC'S. We've been lighting small studio sets with just Apature on Sidus Link and bigger jobs with added S60 Skypanels and HMI'S. Still using small tungsten units with dimmers as it fast and still a beautiful light. All useful gear for different stuaitions, but i think the biggest difference now is i hardly ever use a generator truck, mostly house power and Honda 7k's for the 4k hmi's. Kind of keen to stay with one brand rather than have Nanlux even though they look great, just want to stay with the one ecosystem and sidus link.

[@meetthegaffer]

Everything you say makes a lot of sense! If it it works well you, you’re doing something right😉

[@666size666]

"Simple shot" the director claimed on the scout. "She's in the garage and gets stabbed by the bad guy." Shoot day comes. First AD: "The director was fired and now this new kid is the director." New kid director: "Let's have the bad guy open the garage door." Me (gaffer): "Nope."

[@meetthegaffer]

Ha, ha, ha!

[@philpritchard5173]

Interrsting thx. So much versatility!

[@TyRogers]

Angle of incident equals angle of reflection. By sliding that 12x12 far upstage that should have helped the glare onto the wall. Just guessing what angle normal is by looking at this video-it def would have required to be far upstage.

[@JulioBHJ]

Versatili-key!

[@MojoPapiFPV]

Would a polarizer have helped to get that last bit off?

[@meetthegaffer]

Not sure, but the more I think about it a ceiling bounce may have worked well on the left wall of the blue set… just made a shelf with the 12x ultra.

[@MrAndrewClaycomb]

Doubtful, polarizers only work with polarized light sources, such as the sun. I don't think LED sources are polarized, but I could be wrong on that. Plus, you wouldn't normally use a polarizer on Multicam interviews, because your skin tones won't match between the different angles. They can also make skin look flat out terrible, so it's best to avoid them if possible.

[@jedgould5531]

(Cameraman wondering why he was needed in shot) 8:20

[@meetthegaffer]

Ha, ha! Sitting stand-in.

[@anonymissed3611]

Maybe a specular fixture bounced is still too specular compared to a larger natively diffuse panel on axis through secondary diffusion frame, Skypanels seem to have really diffuse output even without the diffusion panel,

[@meetthegaffer]

Possible, but the fact that the 12x already produced a “sourcy” reflection makes me skeptical that a panel would be much different. The angle of reflection appears to be an important component.

[@anonymissed3611]

@@meetthegaffer true. I was thinking more of a soft source like s-60 through further broadening/softening frame. But I may not be appreciating just how reflective the wall was.

[@nshea3286]

In the olden days... before RGBWW and RGBACL, what was the easiest way to gel medium to large softboxes? Gels usually aren't wide enough(around 24") to clip on the front diffusion. Gel tape them together to make them larger? Gaff tape the gel on the inside?

[@exit1Production]

Taping or clamping the gel on the inside directly to the source. You still need to gel Litemats for +/- green, for example, so that is still relevant today. Also puting the gel on the source uses way less material.

[@meetthegaffer]

Depending on the heat/intensity of units you often need to fix the gel a certain distance from the front of the head, similar to where the inner diffusion is often clipped inside a soft box. With Pars and open face units you could easily burn holes in your gel of place to close. You can use rolls of diffusion, which are wider than sheets, and make up frames, similar to how frames of diffusion gel are made up. Also, you can use Heat Shield gel in between the CCT gel and the source to protect the integrity of the color. Or you would just keep an eye on it and swap out the gel when the color was “burned” out of it and no longer held its designated CCT rating. All this is still done, I just don’t do it very often anymore😀

[@CaseyPreston]

Most gel rolls are 4’. I regularly clip +\- green and bring rolls of 1/8 CTO/B along for softboxes.

[@johnpaulporitz]

Love the microphone!

[@meetthegaffer]

Ha, ha! Stephanie Stokes made me do it🙂

[@johnpaulporitz]

@@meetthegaffer 🎩🎤